We have talked in previous reviews about how an undying love of all things Shakespeare is almost a prerequisite for being an English Specialist (which you can read more about in our review of A Midsummer Night’s Dream at https://rhysreviews.com/2026/04/05/a-midsummers-night-dream-production-review/). We think that one of the most iconic characters to emerge from the Bard’s anthology is the wonderfully villainous Lady Macbeth, from the play often referred to in theatre circles as The Scottish Play due to the superstitions surrounding its title.
Despite being an incredibly notable character, the nefarious Lady Macbeth is only introduced to audiences within the play itself before sadly taking her own life to escape the mounting pressure and guilt associated with her earlier actions. This is why we thought it was particularly powerful that The Working Action Group, behind this project, chose not only to give audiences a more fully realised insight into the mind of Lady M herself, but also to offer a psychological workshop exploring the creation of this reimagined antagonist, which we were lucky enough to attend. While I am aware that these sorts of experiences require a great deal of time and effort to organise, we think more shows should facilitate these events, as they give potential audience members a more insightful perspective on the character they are about to see brought to life. During this workshop however, the lucky attendees were greeted by the wonderful Benjamin Askew, the director and co-creator of the show, who introduced everyone to a unique sock game (or, as we called it back in my youth club days, Tails). Everyone in attendance had to tuck a pair of socks into the back of their trousers and attempt to steal other people’s socks while simultaneously protecting their own. This activity was not only a fantastic ice-breaker but also allowed Ben to transition into a more analytical and psychological masterclass on building an effective character. He highlighted the importance of the four key elements of objectives, obstacles, actions and tactics, both within the game itself and when crafting a show. This then developed into an exploration of a cognitive behavioural matrix that maps out our own personal wants, reactions and behaviours. It is certainly something I am going to use with the students I teach in my day job!
We were also incredibly excited when the invitation to see this show landed in our inbox, as it gave us another reason to make the journey from Cardiff to London and head to the wonderful Playhouse East for its experimental theatre festival, The Lemon. Our previous adventure to the same venue was to see Lie Club, which you can read our review of here: https://rhysreviews.com/2026/10/14/lie-club-production-review/. We have very quickly fallen in love not only with the cosy café beneath the venue but also with the new and exciting pieces of theatre we have been able to experience as part of this festival!
Lady M is a powerful and intense exploration of the mind of the aforementioned Lady Macbeth, taking place alongside the events of Shakespeare’s Macbeth. It delves into the thoughts and feelings of this iconic yet historically wicked character as she navigates the events of a play written by William Shakespeare over four hundred years ago. This is where the messages shared during the workshop really step into the spotlight. Throughout the session, Ben discussed how, when we are introduced to a character as an audience, these are not the first steps they have ever taken. Instead, we are witnessing a snapshot in time, with their previous experiences, personality and nature already influencing the way they think and act. By extension, people are shaped by all the moments they have experienced leading up to the point at which we meet them. This new perspective allows the audience to understand that Lady Macbeth is both a product of her past experiences and someone who possesses a longing for a better future, which is a fundamental human desire. This psychological foundation not only helps drive the plot and develop a sense of empathy among the audience but also gives those lucky enough to attend the workshop a greater understanding of who Lady Macbeth truly is and what she desires.
What is particularly poignant about this show is that Lady Macbeth, the lead and only on-stage character, is brought to life by the other co-creator of the production, the incredible Jessica Kinsey. She perfectly captures the ruthless nature of a character transfixed by the letter she receives earlier in the play, which promises greatness. As anyone would expect from a one-person production, Jessica is undoubtedly the highlight. She not only flawlessly captures Lady Macbeth’s ruthless nature, but also navigates the constant shifts in intensity and mood, keeping the audience on the edge of their seats. There is a palpable intensity behind every single utterance throughout the show, which is no easy thing to portray, let alone maintain for the entire performance! With Shakespearean language and phrases used throughout, the team behind this production have managed to strike an excellent balance between a contemporary exploration of Lady Macbeth and remaining faithful to the setting of the original work.
As the audience enters the auditorium at Playhouse East, they are greeted by a mysterious masked figure, who we later learn is Lady Macbeth, pacing around a stage covered in a range of both recognisable and mysterious phrases. This instantly grabs the audience’s attention. As both an English Specialist and a theatre reviewer, I find the inclusion of a blank mask particularly interesting. It not only hints at the idea of masking or disguising oneself (as Lady Macbeth does throughout the show by presenting herself as a powerful and respected member of society while secretly plotting the murder of the King), but also introduces an element of mystery that immediately hooks the audience. The show itself begins with a brilliant sequence in which Lady Macbeth strikes a range of poses as the lighting flashes throughout the venue, creating the impression of a camera flashing. This is not only a captivating way to open the show but also reinforces the idea that what you see is not always the full picture.
If you have ever read the original Macbeth, you will be aware that Macbeth and his wife are presented as an inseparable pairing, at least until she later takes her own life. We were therefore intrigued by how this one-person production would capture the dynamic and interactions between these two distinct characters. We would never have expected Jessica to literally construct a ‘Macbeth’ from a collection of coat hangers, clothing and even toys! Jessica is able not only to build but also to animate this inanimate object throughout the show. There are moments when the audience genuinely believes that someone else must be controlling the ‘mannequin’, as it embraces, talks to and even chokes Lady Macbeth. In reality, however, it is Jessica cleverly utilising perspective, her body and her reactions to bring what is essentially a coat on a rack to life.
Overall, Lady M by The Working Action Group is a powerful and contemporary exploration of one of Shakespeare’s most iconic characters, captivating the audience from the opening moments to the closing sequence. Jessica Kinsey, as Lady Macbeth, not only ensures that the plot constantly moves forward as the solo performer but also switches effortlessly between the public, innocent persona the character presents to the wider world and the more intimate, intense interactions between herself and the ‘mannequin’ playing Macbeth. I have to say that Lady M is one of the most captivating and gripping one-person productions I have ever seen, and for that reason, we are giving this production 5 out of 5 stars!
